In this study package design was analyzed. Perfume bottles over the last forty years reflect changing gender identities through bottle shape and top design. Design reflects a change in the status of perfumes from luxury items in 1968 to toiletry items in 1994, through bottle shape and material of construction. More specifically, an increase in the use of opaque plastics demonstrate perfumes as readily accessible and easily replaced items.

In a further study, it would be useful to selected two ads from each decade, one high end and one low end with the Chanel no.5 ad as a standard with which to compare the two. Each of the perfumes, high end and low end should be represented in each successive decade to limit variability and simplify comparisons. I could then determine what the bottle combined with the advertisement revealed about each particular decade. The Chanel no.5 bottle is an ideal standard with which to compare perfume bottles against because of it's age and stability in the market. It is also recognized as a classic scent with a classic design and a number of later perfumes modeled both their fragrances and bottles after Chanel no.5. According to Jean de Moury of the House of Jean Patou, producer of the classic perfume JOY, the most important aspect of bottle design is the physical attraction towards shape (www.vielavie.com).

Perfumes consist of a map of cultural preoccupation, including gender representation, codes of sexuality and qualities of personhood (Craik, 1994:175). The literature on packaging and consumerism is heavily wrought with both advertising theory and social history theory particularly relating to gender issues. Literature pertaining to scent history is limited to the ancient realm. Very few sources reflect present day use or values and fewer still describe commercially available mass produced products. This work will provide a point upon which future scholars may begin in the study of perfume bottle design.